Music and Recording Features

Specific Live Streams (Scroll down for ongoing series):

• Thursday, May 7 10pm EDT: The Noe Music Listening Club features composer Jake Heggie discussing and performing his music and that of his music heroes. Sign up here.

• The Metropolitan Opera streams live performances for 25 hours. This week’s schedule is:
  May 6 Saariaho’s L’Amour de Loin
  May 7 Strauss’s Capriccio
  May 8 Puccini’s La Bohème
  May 9 The Opera House
  May 10 Mascagni’s Cavalleria Rusticana / Leoncavallo’s Pagliacci.

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I remember the only time i ever saw Chet Baker. It was at Parnell's, a jazz club in Pioneer Square in Seattle, long since defunct. It was a few years before Baker died under mysterious circumstances, in Amsterdam in 1988, after a life of creativity, notorious dissipation, and addiction.

Emaciated, with a caved-in face, he already looked near death. He played like an angel. I remember something that happened to me toward the end of the night. Sometimes last sets in jazz clubs, when the crowd has thinned, seem to exist outside of time.

Few would have predicted that the Sex Pistols' first gig—in November 1975, at the Saint Martin's School of Art in central London—would be the start of an explosion of music. Not many even knew it was happening. That soon changed. Punk would create a space that other bands rushed to fill. Inspired by the DIY ethos and the rejection of the notion that pop music had to be a 30-minute conceptual track on the lives of elves, punk was just grab an instrument and form a band.

Of the celebrated triumvirate of John Scofield, Pat Metheny, and Bill Frisell—the most original and influential jazz guitarists of the past 50 years—none is more distinctive, or self-effacing, than Frisell, a true changeling of the guitar. Frisell is a jazz-based musician, but his music crisscrosses genres, and his guitar playing isn't bound to or limited by a specific technique. He's a master illusionist, able to alter a song's meaning far beyond its original intent with the aid of a Telecaster guitar, a modest effects chain, and, most importantly, his rich imagination.

As the decade draws to a close, many of us choose to gather with people we love so that together we can celebrate and give thanks for our blessings. In that spirit, I offer a new hybrid SACD/Download of a perennial favorite, Beethoven Symphony No. 9 in D minor. Op. 125 “Choral” (BIS 2451), whose memorable finale celebrates the joy of oneness with humanity and the divine.

It's not just the gray hairs or the expanding waistline that suggest one is getting old: it's also when the albums you love so much, and so vividly remember hearing for the first time, have become a part of the rock heritage industry. So it is with London Calling by the Clash, which celebrates its 40th birthday in December 2019.

“Musical scavenger” Bryce Dessner, the composer/musician who gained fame as principal songwriter of American rock band The National, describes his process as collecting sounds that appeal to him and trying them out. Classically trained, he’s one of a growing number of artists whose cross-genre music, when performed by string quartets, orchestras, and ensembles, has been central to broadening the definition of classical music in the 21st century. Dessner is also one of eight “extraordinary artists, thinkers and doers” appointed to a collective that will help steer conductor/composer Esa-Pekka Salonen when he succeeds Michael Tilson Thomas as Music Director of the San Francisco Symphony in September.